Film photography is enjoying a resurgence in popularity, but unfortunately, so are used film camera prices. Granted, analog cameras are still bargains compared to new digital cameras, but some of the best-known models are creeping up in value, and as the film photography community discovers more hidden gems, their prices rise as well.

But film camera prices aren’t always based on quality or features; more often than not, it’s the fondly-remembered cameras that demand higher prices. Happily, there are plenty of less-popular cameras—often from the same manufacturer!—that can do the job just as well as their better-known brethren. In this article, we’ll talk about 10 well-known and expensive cameras, explain why they demand the prices that they do, and introduce you to reasonably-priced alternatives that do the job just as well—and some for much less money.

Skip: The Nikon F4 or F5

The Nikon F4 and F5 were the go-to professional film cameras from the late 1980s until the mid-2000s. Built like tanks, they were—and still are—tools designed to get the shot under any circumstances. Today, the F4 and F5 are highly regarded and highly priced—we’re talking $200 to $350 for a body in usable condition, and double that for a mint rig that hasn’t led the hard life so typical of these workhorses.

Instead buy: The Nikon N8008/N8008s

Related: The best used camera to buy right now

Back in the ‘90s, many F4/F5-toting pros kept a Nikon N8008 in their bag as a backup. Introduced concurrently with the F4, the N8008 was Nikons’ top consumer camera, with sophisticated-for-the-time matrix metering and a fast autofocus system. (It was also an incubator for the F5’s DSLR-like interface.) Like its pro-grade brother, the N8008 almost always gets the shot. The N8008 and N8008s (a later model with a spot-metering mode; they’re called F-801/801s outside North America) lives in the shadow of the more-advanced N90, and as a result, it’s largely underappreciated and underpriced: Bodies sell for a mere $20-$50, a ridiculous bargain for such a sophisticated camera.

Skip: A Hasselblad 500-series Medium Format camera

Hasselblad is often labeled as the Rolls-Royce of film photography, and the 500-series Medium Format cameras certainly are impressive machines. Not only are they exceptionally well-engineered and well-crafted, but they are also relatively small and light for their film size. But man-oh-man, are they expensive! A complete 500 C/M rig (body, lens, viewfinder and film back) will set you back at least two grand—likely more—and lenses aren’t cheap either.

Instead buy: A Bronica SQ-series Medium Format camera

Bronica cameras were often referred to as “Japanese Hasselblads”. Like the ‘Blad, the Bronica SQ is a square-format leaf-shutter SLR that is compact and light. The optics are excellent, the bodies are reliable, and you should be able to assemble a complete system for less than $1000, and closer to $500 if you are willing to patiently watch the auction sites. If you prefer a rectangular 6×4.5cm negative format, the Bronica ETRS and Mamiya 645-series are bargains as well.

Skip: The Nikon FM2/FM2n

Nikon’s FM2 is among the most prized of 35mm film SLRs, and with good reason: It’s all-mechanical (which means it can operate without batteries), has a fantastic feature set, and uses Nikon’s outstanding lenses. No surprise, then, that it’s one of the more expensive 35mm SLRs on the used market, with working examples easily fetching between $250 and $500.

Instead buy: The Nikon FM

The irony here is that the FM2’s predecessor, the FM, sells in the $100 to $200 range, sometimes even cheaper. The older FM has a slower top shutter speed (1/1000 sec vs 1/4000 sec) and slower flash sync speed (1/125 sec vs 1/200 sec or 1/250 sec for the 2n), and… that’s about it. Under the skin, the FM has similarly robust all-mechanical construction for which the FM2 is prized, and if you can do without the faster shutter speeds, it’s a great bargain. An even cheaper alternative is the Nikkormat FT2, which is bigger and heavier than the FMs but fully compatible with Nikon’s less-expensive pre-AI lenses.

Skip: The Canon AE-1 Program

The AE-1 Program was Canon’s first consumer-grade camera to have a program mode, one that could set both aperture and shutter speed. It was a strong seller in its day and remains popular with those transitioning from digital to film, as it combines that old-school SLR feel with the ease of fully automatic exposure control. No surprise, then, that the AE-1 Program commands high prices—$150 to $300 in good working order.

Instead buy: The Nikon FG

Introduced in 1982 as a low-cost AE-1 Program competitor, the FG is one of the most controversial Nikon bodies, derided among Nikon purists for its built-to-a-price-point construction. Though it lacks the heft and feel of other Nikons, read online reviews and you’ll see that most modern-day FG owners (your author included) love them. The FG is small and light and provides aperture-priority, shutter-priority, and full-auto program modes with all Nikon AI-S manual focus lenses. Thanks to its poor reputation, it’s easy to snag an FG for $75 or less.

Skip: A Rollei Rolleiflex TLR

Mention twin-lens reflex cameras and many film photographers imagine a Rolleiflex. Designed with German precision, Rollei’s Medium Format TLRs are elegant, reliable, and admirably small and light. And in their day they were prized by both casual snapshooters and professional photographers. Their well-earned regard translates to high prices: Depending on the model, Rolleiflex cameras range from $300 to $2,500 or more, and even Rollei’s lower-end Rolleicord cameras go for $200 and up.

Instead buy: A Yashica TLR

The Japanese-made Yashica twin-lens camera was designed as an affordable alternative to the Rolleiflex. But don’t let its budget status fool you, Yashicas are high-quality cameras. For some reason, though, these fine TLRs continue to lurk in Rollei’s shadow. Happily, this is reflected in their prices: Working Yaschicas sell in the $50 to $300 range. You might also consider the Mamiya C220 and C330, rare among TLRs in that they have interchangeable lenses. They’re larger, heavier, and more expensive than the Yaschicas—figure $250 to $500—but they too are excellent cameras.

Skip: The Pentax K1000

The K1000 is one of the best-known 35mm SLRs in the film world, largely because Pentax kept it in production for an epic twenty-one years, from 1976 to 1997. Cheaply priced when new and virtually indestructible, the Pentax K1000 became the go-to student camera for generations of photographers and is fondly remembered today. That nostalgia keeps prices up: Despite a massive supply, working K1000s routinely sell between $120 and $150, which is rather steep considering the K1000’s limited feature set.

Instead buy: The Pentax KM

What many photographers don’t realize is that Pentax derived the K1000 from their KM of 1975-77. The KM is actually a more feature-rich camera; its self-timer and depth-of-field preview were eliminated from the K1000 in order to get the price down. There’s one other big difference between the KM and the K1000: How much they cost today. Despite having more features, the lesser-known KM routinely sells for under $100. If the K1000’s slightly-higher price tag isn’t a budget-buster, though, consider your author’s favorite Pentax, the KX, which uses the same mechanism with a mirror lock-up and a better light meter.

Skip: A Leica M-series rangefinder

Are Leica’s legendary 35mm rangefinder cameras worth their sky-high prices? That debate will likely never be settled, but with the price of entry starting around $1,500 for less-desirable models and rising well above $5,000 for a nice M6—and that’s before lenses!—it’s a question for which few of us will have the opportunity to give an informed answer.

Instead buy: A Voigtländer Bessa R or R-2

Voigtländer is another German brand, except the Bessa R isn’t exactly German—it’s made by Cosina, a Japanese company that has manufactured cameras and lenses for numerous other well-known brands. Hard-core Leica fans might dismiss the Voigtländer as a plastic knock-off, but those who have used both cameras don’t seem to find the Bessa’s performance lacking. The Bessa R uses the 39mm Leica screw mount while the R2 uses the Leica M-mount. And while the Bessas don’t come cheap—figure $500 to $1,500—they are a great value compared to Leica. (Note that the Bessa T and Bessa L are less expensive, but the T has no viewfinder and the L lacks both viewfinder and rangefinder.)

Skip: The Nikon FE or FE-2

The FE-series was Nikon’s state-of-the-art consumer camera throughout most of the 1980s. A stablemate of the mechanical FM, the FE features an electronic shutter with an aperture-priority automatic exposure mode along with full manual control. Though cheaper than the FM-series cameras, the FEs still command healthy prices in the $100-$300 range.

Instead buy: The Ricoh XR-2 or XR-2s

Back in the 1970s and ‘80s, Ricoh was known for making feature-packed cameras at discount prices. The XR-2 and XR-2s (the latter accepts a power winder) have a similar feature set to the FE, including a match-needle meter display, shutter speed range of 1/1000 sec to 4 sec (the FE goes to 8 sec), and aperture readout in the viewfinder. Ricoh XR cameras are compatible with Pentax K-mount lenses, which are cheaper than Nikkor and of comparable optical quality (though Ricoh’s own Rikenon lenses are fine, too). Their plastic bodies feel a bit cheap, but don’t be fooled—Ricoh was an early adopter of durable polycarbonate, two decades before Canon. You’ll find the XR-2 for $50 or less, and the Sears-branded version, the KS Auto, is even cheaper.

Skip: The Pentax LX

Back in the 1970s and ‘80s, Pentax primarily pursued the consumer market, and the LX is one of their few pro-level film cameras from that era. An impressive camera, it features a weather-sealed body, interchangeable viewfinders, and an unusual hybrid shutter that is mechanically timed at high speeds (1/75 sec to 1/2000 sec) and electronic at slow speeds (4 sec to 1/60 sec). Among die-hard Pentaxians, the LX is considered the brand’s most desirable 35mm body, and prices are high, typically between $200 and $400.

Instead buy: The Pentax K2

A predecessor to the LX, the K2 was actually Pentax’s first (albeit half-hearted) attempt at a “pro” camera, and while it lacks many of the LX’s pro-specific features, it offers similar functionality and uses the same K-series lenses. Its electronically-timed shutter offers speeds of 1/1000 sec down to 8 sec, and it’s the only camera in the K-series to offer an automatic exposure mode. The K2 DMD version was compatible with a motor drive and a data back and tends to sell for a bit more than the regular K2. You’ll find K2s in the $100-to-$150 range, sometimes even cheaper.

Skip: The Minolta Maxxum 9

The Minolta Maxxum 9 (known as the Dynax 9 in Europe and the α-9 in Japan) was Minolta’s last professional 35mm body. With weatherproof construction, a highly advanced autofocus system, and a 1/12000 sec top shutter speed, the 9 was a formidable competitor for the Nikon F5. The 9 was ignored for many years, but appreciation for this camera is growing rapidly, as are prices—they’re trading in the $250-plus range and prices are on the rise.

Instead buy: The Minolta Maxxum 5

If the Maxxum 9 is a sleeper among pro bodies then its mid-level brother is a sleeper among Minolta SLRs. One of Minolta’s last advanced-amateur film bodies, the 5, encompasses many of the features of the Maxxum 7 (which some argue was a more advanced camera than the 9). It’s not weatherproof and its shutter tops out at a mere 1/4000 sec, but it has sophisticated autofocus and autoexposure systems and a plethora of programmable options. Because they appeared towards the end of the film era, many used examples have seen little use. Best yet, the Maxxum 5 is laughably cheap, with plenty on the auction sites for $30 or less. Your author bought his, in like-new condition and with a lens, for a mere $17.

The post Affordable analog: 10 alternatives to high-priced film cameras appeared first on Popular Photography.

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Best overall		Fujifilm QuickSnap Flash		SEE IT	A built-in flash and a sharp lens make this a winner.
Best black and white		Kodak Professional Tri-X 400 Black and White Negative Film Single Use Camera		SEE IT	Get the distinct Kodak colors built-in.
Best underwater		Fujifilm QuickSnap Waterproof		SEE IT	It will cost you extra but it’s not afraid of water.

Disposable cameras have long been a staple of family gatherings, vacations, and parties. They have even stuck around despite the rise of digital. That’s in part because of their simplicity, which makes single-use cameras great for groups with varying degrees of photography knowledge (from zero to experienced). They’re easily passed around, letting everyone participate in documenting the moment, which makes them great for events like weddings. And photographers who may want a break from the, at times, overly technical, high-tech world of photography these days may enjoy picking up a single-use camera from time to time. It’s a refreshing way to go back to the basics and have some fun with the medium. No matter what you want the camera for, we’ve found the best disposable cameras available.

• Best overall: Fujifilm QuickSnap Flash 400
• Best color: Kodak Funsaver
• Best black and white: Kodak Professional Tri-X 400 Single-Use Flash Camera
• Best black and white runner up: Ilford XP2 Black and White Single Use Camera
• Best underwater: Fujifilm Disposable QuickSnap Waterproof Camera
• Best for parties: Agfa’s Le Box 400
• Best extra exposures: Kodak SUC Daylight 39
• Best reusable disposable camera: Lomography Simple Use Reloadable Color 35mm Camera

How we picked the best disposable cameras

The editors and writers at Popular Photography have decades of photography experience in just about every genre and have covered and reviewed just about every major camera on the market. When selecting the options for this list of best disposable cameras, we looked at a range of important features. Film speed, the number of exposures, and the presence and capabilities of a built-in flash were all considerations. While disposable cameras are inherently somewhat low quality, we also assessed the quality of the lens. The type of film stock loaded into the cameras and resulting colors, contrast, and grain were also considered. Lastly, we tried to select a variety of cameras that suit an assortment of uses and situations. 

The best disposable cameras: Reviews & recommendations

You can still find a variety of disposable cameras available with different types of film and camera attributes. While some are great for just about any situation, others are more specialized. Below you’ll find some of our favorite disposable cameras for a range of uses.

Best overall: Fujifilm QuickSnap Flash 400

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Why it made the cut: The QuickSnap is a classic, extremely simple to use disposable option with a powerful flash. It is widely available and also comes in multi-packs.

Specs

• ISO: 400
• Built-in flash: Yes
• Film type: 35mm color
• Number of exposures: 27

Pros

• Built-in flash 
• 10-foot flash range
• Available in multi-packs for events

Cons

• Skin tones can be a little magenta

Fujifilm’s classic Quicksnap Flash 400 is an extremely straightforward disposable camera preloaded with Superia X-TRA 400 film. This film has good contrast and grain. Overall, the colors are really nice, but skin tones and white areas tend to be a bit on the magenta side, which is typical of Fujifilm’s cheaper stocks. 

Like all disposable cameras, the lens is plastic and is a fixed 32mm f/10. It is sharp for a disposable camera, making it easier to get better images. It has an optical viewfinder that matches the wide-angle lens, meaning your final compositions will match what you see.

The relatively low ISO makes this camera best suited for outdoor use with bright light, but the flash helps give it more versatility. The flash on the Quicksnap can light subjects as far away as 10 feet, giving it a good range and making it a more well-rounded camera. If you’re new to film and worried 400 might be too fast, consider that negative film is difficult to ruin with over-exposure and that f/10 lens isn’t exactly flooding the film with light. 

Best color: Kodak Funsaver

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Why it made the cut: The Funsaver is an easily accessible camera that comes in two different ISO options. It also has one of the sharper lenses for disposable cameras.

Specs

• ISO: 400 or 800
• Built-in flash: Yes
• Film type: 35mm color
• Number of exposures: 27

Pros

• Available with ISO 800, which is better for low light
• Easy to find online and in stores
• Quality lens despite plastic construction

Cons

• A little flimsy 
• Manual flash that has to be charged before every photo

The Kodak Funsaver is another classic disposable camera that has been around for a long time. You can find both ISO 400 and 800 versions, which allows you to choose which suits your needs best. The 400 is ideal for bright daylight, whereas the 800 will be better for situations where you may have heavy shadows, cloudy days, or want to shoot in the evening. The 800-speed model is also good for parties where there might be colored lights that will show up more, thanks to the higher sensitivity.

The Kodak color film loaded in both options has very pleasing colors with warmer tones and nice contrast. In addition, it is excellent for portraits, as skin tones tend to be more accurate than other options.

The Funsaver has a built-in flash with a range of 4 to 11.5 feet, but you do have to push the button to charge it before every use. There is no simple flash on/off switch like on other cameras. It has a fixed 30mm f/10 lens and a fixed focus of 1 meter to infinity.

Best black and white: Kodak Professional Tri-X 400 Single-Use Flash Camera

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Why it made the cut: The Tri-X 400 single-use is a new black and white disposable camera option that Kodak Professional recently released. It has an amazingly sharp lens for a disposable camera.

Specs

• ISO: 400
• Built-in flash: Yes
• Film type: 35mm black and white
• Number of exposures: 27

Pros

• Iconic film stock
• Sharp lens
• Very forgiving with considerable exposure latitude

Cons

• Developing black-and-white film can be pricier than color

Kodak Professional built its black-and-white single-use camera around the classic Tri-X 400 film. This film is a staple with photographers across many genres because of the high contrast look and fine grain structure. Tri-X also gives you the flexibility to push exposure limits by underexposing while shooting and then adding extra developing time to create a denser negative (a technique called “pushing”).

The camera comes with a built-in flash with a range of 3 to 10 feet. It has a 30mm dual-element f/10 lens. The lens on this disposable is impressively sharp and clear, especially considering it is still plastic.

Best black and white runner-up: Ilford XP2 Black and White Single Use Camera

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Why it made the cut: Ilford produces exceptional black-and-white films, so a disposable camera built around that is a solid choice. Plus, this can be developed in standard color chemicals (C-41), which makes finding a place to develop the camera easier.

Specs

• ISO: 400
• Built-in flash: Yes
• Film type: 35mm black and white
• Number of exposures: 27

Pros

• More flexibility for developing
• Built-in flash
• High contrast

Cons

• Developing black-and-white film can be pricier than color

The Ilford XP2 single-use camera is another excellent option for those wanting to stick with black and white. The film is high contrast with a very fine grain. It performs best in open daylight, but the built-in flash does open up the ability to use it in harsh shadows or lower light conditions.

The built-in flash on the XP2 has a range of up to 10 feet. Its plastic lens is a fixed 30mm f/9.5 and is quite sharp and clear.

Perhaps most importantly, though, the film requires C-41 processing, which is the same process used for typical color negatives. That makes it much easier (and usually cheaper) to get developed because just about any lab is equipped to handle it.

Best underwater: Fujifilm Disposable QuickSnap Waterproof Camera

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Why it made the cut: The Fujifilm QuickSnap is the best waterproof option in terms of image quality, as the watertight case doesn’t distort images much.

Specs

• ISO: 800
• Built-in flash: No
• Film type: 35mm color
• Number of exposures: 27

Pros

• Higher ISO
• Waterproof to 33 feet
• Built-in wrist strap

Cons

• No flash
• Not as sharp as non-waterproof options

You can think of the Quicksnap Waterproof camera as the disposable version of a GoPro. It comes in a robust, watertight case, making it perfect for snorkeling, skiing, and any other rugged adventure you may take. The oversized shutter helps when taking photos in slippery conditions or wearing bulky gloves. Plus, the built-in wrist strap gives you some security when out and about.

It comes loaded with Superia X-TRA 800 film. The faster ISO will help open up a wider range of conditions, especially since there is no flash on this camera, as it wouldn’t be very helpful underwater anyway. However, you will still want to stick to pretty bright sun or risk underexposed images. Clear water on a bright, sunny day will also give you the best results for underwater shots.

The Quicksnap Waterproof comes with a plastic 32 mm f/10, fixed-focus lens. On land, the lens focuses from 1 meter to infinity. When underwater, that range is between one to three meters.

Best for parties: Agfa’s Le Box 400

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Why it made the cut: The Le Box’s built-in flash has an impressive range of 13 feet, making it the best option for capturing the action at your parties.

Specs

• ISO: 400
• Built-in flash: Yes
• Film type: 35mm color
• Number of exposures: 27

Pros

• Powerful, automatically recharging flash
• Nice colors

Cons

• Not the sharpest lens

Agfa’s Le Box comes with perhaps the most impressive flash on a disposable camera, with a range of roughly 13 feet. Moreover, the flash recharges automatically, making it easy to keep on shooting.

Because of the powerful flash, this camera is a great choice for darker conditions, such as indoors or after sunset. This is also why it is the ideal choice for your parties. However, the Agfa film is also great in daylight, with well-balanced colors and nice contrast.

The lens on the Le Box isn’t the sharpest option out there, so you will want to keep that in mind. Don’t expect your party shots to come out crisp and perfectly clear, as there will be some softness from the plastic lens. But this look can add to the charm if you embrace it.

Best extra exposures: Kodak SUC Daylight 39

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Why it made the cut: The Kodak SUC Daylight lets you squeeze a bit more out of a single disposable camera with its 39 exposures.

Specs

• ISO: 800
• Built-in flash: No
• Film type: 35mm color
• Number of exposures: 39

Pros

• More frames than typical disposables
• Higher ISO

Cons

• No flash, limiting it to bright conditions

The Kodak SUC Daylight is a great disposable option for trips, as it gives you 12 more frames than the typical disposable camera. The film loaded in this camera has nice, punchy colors, another plus for a travel disposable.

The 800-speed film helps with getting proper exposures, but as the name implies, this camera is intended for daylight use. It does not have a built-in flash and, as a result, is not suited for indoor photography or low-light situations. Stick to bright, sunny days for best results.

This Kodak disposable has a fixed 32.8 mm f/10 plastic lens.

Best reusable disposable camera: Lomography Simple Use Reloadable Film Camera LomoChrome Metropolis

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Why it made the cut: Lomography’s Simple Use Reloadable Film Camera provides the look and feel of disposable cameras but can be reloaded, cutting down on the amount of plastic waste.

Specs

• ISO: 400
• Built-in flash: Yes
• Film type: 35mm color
• Number of exposures: 27

Pros

• Lightweight like traditional disposable cameras
• Produces less plastic waste
• Can use any 35mm
• Includes three built-in flash filters for fun effects

Cons

• Heavy vignetting and softness on edges

The plastic waste associated with disposable cameras is a major downside. And while you could buy a used traditional film camera for around the same price as this Lomography Simple Use Camera, you’d be missing out on the qualities that draw us to disposable cameras. Disposable cameras are so extremely lightweight and easy to have on hand, not to mention easy to use while providing kind of quirky results.

That’s where the Lomography Simple Use Camera comes in. Like disposable cameras, it features an all-plastic construction, including a plastic 31 mm lens. And it has a single shutter speed of 1/120 with a fixed f/9 aperture. But, the camera is infinitely reloadable, unlike disposable cameras. This particular camera comes with Lomography’s Metropolis film, which results in moody, muted photos.

Once you have finished shooting that, you can put in whatever film you like. Some have said it is a bit tricky to reload the film, but Lomography has a helpful tutorial for just that. You can even find versions with underwater housing should you want a waterproof film camera for cheap.

Things to consider before buying a disposable cameras

Even the best disposable cameras typically don’t differ all that much from one another. Disposable cameras normally offer a fixed plastic lens, a single aperture, and one shutter speed (generally around 1/100 s). The focus is also fixed on single-use cameras, generally from 1 meter to infinity, to try and keep just about everything relatively sharp. There may be slight differences in those elements between the cameras, but they will be roughly the same. That said, there are some key things to consider when deciding which is best for you.

Flash

One of the main choices with disposable cameras is flash or no flash. If you want to use the camera in a range of settings and lighting scenarios, then flash is your best bet. Without a built-in flash, most disposable options will be best suited for bright daylight conditions. The flash also gives the film photos a very stylized look, which is part of what makes them popular with younger photographers at the moment.

Film speed

Most disposable cameras come in either ISO 400 or ISO 800. For those new to film, film speed is essentially the same as ISO on your digital camera. It refers to how sensitive the film (or digital sensor) is to light. A lower ISO number (400) requires more light to properly expose the film, making it better suited for bright conditions like a sunny day. A higher ISO (800) will be more sensitive, so less light is necessary, which is helpful for darker lighting.

Waterproofing

Most of the available disposable cameras do not have any water or weatherproofing. There are, however, some waterproof disposable options meant for use when fully submerged, so if you want to adventure with your disposable camera, those will be the best options for you. Even if you’re not going underwater, the waterproof housing sometimes adds extra protection to the flimsy plastic-and-cardboard bodies. 

Recycling

One drawback to using disposable cameras for many is the level of waste created. But, the term disposable is a bit of a misnomer-recycled camera may be the better name. Fujifilm has been recycling its cameras since 1990, and Kodak, who also started its recycling program in 1990, says the rate of recycling their single-use cameras is 84%. 

When you get your film developed, the empty camera is generally sent off to be recycled. Because of the manufacturing process, almost every part of single-use cameras can be reused or melted down and molded into a new camera. If you develop the film yourself, there are options for mailing the camera body in yourself to have it be recycled as well. 

If you want to avoid plastic and new products altogether but still want to shoot film, there are some excellent, used film cameras that you can find at reasonable prices on the secondary market.

FAQs

Final thoughts on the best disposable cameras

• Best overall: Fujifilm QuickSnap Flash 400
• Best color: Kodak Funsaver
• Best black and white: Kodak Professional Tri-X 400 Single-Use Flash Camera
• Best black and white runner up: Ilford XP2 Black and White Single Use Camera
• Best underwater: Fujifilm Disposable QuickSnap Waterproof Camera
• Best for parties: Agfa’s Le Box 400
• Best extra exposures: Kodak SUC Daylight 39
• Best reusable disposable camera: Lomography Simple Use Reloadable Color 35mm Camera

We found the Fujifilm Quicksnap to be the most well-rounded option out there. Its sharp images, solid flash, and incredible simplicity suit various scenarios and documentation needs. In addition, the Quicksnap is one of the easiest to find in stores and online, and you can also buy multi-packs to save some money.

Why trust us

PopPhoto has a long history of delivering the opinions of some of the sharpest and most prolific camera dorks the world has to offer. Since 1937, we’ve been reviewing cameras, providing wisdom from well-known photographers, and generally just nerding out about all that goes into making great pictures. Our current crop of writers and editors have decades of professional photography and camera writing experience among them. Collectively, we’ve probably shot with just about every camera and lens combo you can imagine—as well as some obscure stuff you may not even know about. Remember the Casio Tryx folding camera? PopPhoto does.

We also get that buying a camera is a big decision, which is why we’re dedicated to helping folks choose the right one (or, in our case “ones”) for their needs. Case in point: Handing over top dollar for an expensive rig may leave you unsatisfied if it doesn’t fit your preferred shooting style. Sure, a $6,000 sports-oriented DSLR can capture landscapes, but do you really need to do it at 30 frames-per-second? No, you don’t.

The post The best disposable cameras of 2023 appeared first on Popular Photography.

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For reasons I can’t quite explain—my contrarian nature, perhaps, or the inferiority complex that comes with being a Pentax shooter—it pains me to heap praise on Nikon. It’s impossible to deny that most Nikon gear, be it film or digital, is pretty darn good. Still, any time I hear or read someone extolling the superiority of all things Nikon, I can’t help but imagine what they’d look like with a Nikkor AF-D 70-210mm zoom shoved firmly up their left nostril.

There is, however, one Nikon film camera I genuinely adore—and it just so happens to be the one that Nikonians love to hate. Fellow film friends, meet my favorite Nikon SLR: The quirky little Nikon FG 35mm camera.

Nikon FG pros:

• Small size, lightweight
• Great control layout
• Works equally well in automatic and manual modes
• Bargain price for a Nikon SLR

Nikon FG cons:

• Unrefined feel compared to other Nikon cameras
• No depth-of-field preview
• Nikon fans might think you have a lousy camera and no taste

The Nikon that irked everyone

To appreciate both the FG’s eccentricities and the derision it attracts, it’s helpful to know a little about its history. The FG was the second attempt to market an entry-level camera under the Nikon brand; previously, such cameras were marketed as Nikkormats. The FG’s predecessor is the equally-detested EM, a lightweight, automatic-only SLR introduced in 1979 as a response to compact automatics like Pentax’s ME of 1976.

Related: Affordable analog – 10 alternatives to high-priced film cameras

The EM’s (relatively) cheap price and limited feature set jibed with Nikon’s pro-level snob appeal. Worse yet, Nikon ads touted the EM as a lightweight, low-cost, foolproof camera that delivered the same high-quality results as pro-level Nikons—something that likely did not sit well with those who had invested serious cabbage in their F2 and FE kits. One can only imagine how they felt about the snapshooting masses suddenly joining the ranks of the Nikonisti.

Enter the surprisingly sophisticated Nikon FG

Sensitive, perhaps, to the fan base’s criticisms of the EM, Nikon replaced it in 1982 with the FG, a name that implied closer kinship to other F-series SLRs. And the FG is a surprisingly sophisticated camera: Similar in size to the svelte EM, the FG adds full manual mode (along with the EM’s aperture priority auto mode) and an exposure compensation dial in addition to the EM’s backlight, +2EV button. Like the EM, the FG lacks a depth-of-field preview, but it does have a mirror lock-up tied to the self-timer. 

Nikon FG key specs:

• Type: 35mm manual-focus, manual-wind SLR
• Years produced: 1982-1984
• Built-in light meter: Yes
• Exposure modes: Metered manual, aperture priority auto, program auto
• Focusing aids: Horizontal split prism, microprism
• ISO range: 25 to 3200
• ISO setting: Manual
• Shutter type: Metal leaf, vertical travel, electronically timed
• Shutter speed range: 1/1000 to 1 sec (stepless in auto modes) + Bulb
• Flash sync speed: 1/90 sec
• Hot shoe: Yes
• Self-timer: Yes
• DOF preview: No
• Mirror lock-up: Yes, with self-timer
• Exposure compensation: Yes
• Batteries: 2 x LR44 or S76
• Dimensions: 5.35 x 3.46 x 2.13 inches

But it was the innovations over and above other Nikon cameras that really set the FG apart. The FG was the first Nikon camera to offer a fully-automatic “program” mode, which set both shutter speed and aperture in stepless increments. It also offers off-the-film (OTF) flash metering, a feature borrowed from the pro-level F3. (It’s worth noting that when the FG-20 replaced the FG in 1985, the Program and OTF flash features were gone, transplanted to the high-end Nikon FA.)

The 1982 price for the FG was $322, but major retailers advertised it for as low as $185 (about $560 in 2022 dollars). For comparison, retailers were getting $99 for an EM, $205 for an FE, and $435 for an F3. Competing cameras included the Canon AE-1 Program, which sold retail for $170, and the Minolta X-700 at $195.

Ingenious workaround enables new tech on old lenses

One innovative feature that Popular Photography covered in our July 1983 Nikon FG Lab Report (in which we tore the camera down to its bare frame) is the camera’s last-second metering check. When the shutter is fired in program mode, just after the lens is stopped down—and before the mirror pops up—the FG takes a meter reading to set the final shutter speed. Why? The throw of the diaphragm actuating lever is so short that the FG can’t set the aperture with perfect precision, so this final check allows the shutter speed to be fine-tuned for proper exposure. It’s a work-around, to be sure, but one that allows the FG’s program mode to work with existing AI-series lenses, many introduced half a decade before the FG showed up.

PopPhoto’s response to this nifty new Nikon was favorable. In our First Look at the camera, published in the November 1982 issue, we said:

“The camera was extremely responsive and has an accurate, nicely center-weighted metering system that gave beautifully exposed negatives and slides. In spite of its plastic exterior, the FG felt solid and reliable, with none of the ‘tinniness’ that is sometimes characteristic of cameras this small… All in all, the FG is an extremely flexible picture-making machine that is at once quite sophisticated and easy to use.”

Not good enough for the Nikonians

Unfortunately, the Nikon FG proved to be no more popular than the EM among Nikon fanatics. Pick one up and it’s easy to see why: Smaller and lighter than the FE and FM, it feels substantially less substantial, and not just because of its plastic body. The FG doesn’t have the same mirror-damping mechanism as pricier Nikons, and, like the EM before it, it employs the same Seiko MFC-E shutter used by Pentax, Minolta, and others, rather than the Nikon-designed Copal shutter. Inertia has a field day with the FG: Fire the shutter and it shudders in a way most Nikon SLRs don’t. 

The film advance is just plain weird: It has a two-piece hinged lever and a ratcheting design which allows the film to be advanced in several short strokes rather than one big one. Winding it feels like manipulating a broken finger, and when the film is fully advanced, the clutchamathingie that makes the ratcheting action work stops the lever’s travel with a most un-Nikon-like clack. Compared to the refined feel of other Nikons, the FG is more Holga than Hasselblad. It just doesn’t feel like a proper Nikon, and I’m sure that’s a big part of why it alienated the fan base.

Why I love the Nikon FG

That’s unfortunate because those unable to get past the FG’s un-Nikon-like feel are missing out on a magnificent camera. I like my SLRs small and light, and the FG is a significant three ounces lighter than the Nikon FE. While not quite as light as the Pentax M-series cameras—my favorite walk-about bodies—the FG has a better control layout: The edge of the shutter speed dial sits proud of the camera’s front edge, so you can turn it with your shutter-button finger. The exposure compensation dial can also be easily adjusted while looking through the lens.

The meter display is one of my favorites. The FG’s viewfinder has a vertical row of numbers corresponding to shutter speeds. In manual mode, red LEDs light up solid next to your selected shutter speed and flash next to the meter’s recommendation, with arrows at the top and bottom warning of over- or under-exposure. A single solid LED means you and the meter agree. In automatic mode, the LED shows the camera’s selected shutter speed, with a beeper (which can be disabled) warning of shake-prone speeds of 1/30 or less. Unlike a mechanical needle, the LED display is visible even in very low light. Even if it’s too dark to read the numbers, I find I can figure out the approximate shutter speed by the position of the LEDs.

The beauty of the FG is that it works equally well in manual, semi-automatic, and fully-automatic modes, which is more than I can say for my beloved Pentax ME Super (which I find to be great as an automatic camera but lousy as a manual one). Personally, I like the FG even better than my Nikon FE, which is supposed to be the superior SLR. The FG isn’t as refined, but I find it a lot easier and faster to use. 

And, of course, the photos that come out of the FG are just as good as what an FE or FM –or even an F2 or F3—can make, because they’re all shot through those lovely Nikkor lenses. And while I don’t own any, I’m told that the lower-cost plastic-body E-series lenses, which with the EM and FG were often bundled, also do an excellent job.

And yet it’s still the Nikon that Nikonians dislike

The odd thing about the FG is that even now, forty years after its introduction, it is still reviled by some of Nikon’s fan base. The FG has a reputation for fragility, though this seems to be propagated by folks who don’t trust cameras with electronic shutters (which is a little like keeping your money in a mattress because you don’t trust banks). I’ve seen little evidence that reliability is any more of a problem for the FG than any other electronic Nikons. In fact, having read through hectares of online reviews and forum commentary, it strikes me that most of the people who bag on the FG haven’t actually used one. Actual FG owners, what few of us there are, mostly love the li’l critter.

Still, this unfair tarnishing of the FG’s image has created a great situation for would-be Nikon shooters who are put off by price: The FG remains a bargain among manual-focus Nikon SLRs. While working FEs frequently sell in the $100 to $200 range, and FM-series cameras for even more, it’s still possible—easy, actually—to find an FG in good condition for well under a Benjamin. The same goes for the FG’s replacement, the FG-20. Though it lacks all of the FG’s features, it’s still a great (and greatly underappreciated) Nikon SLR. Of course, one still has to contend with the high price of Nikkor lenses, but the savings the FG offers over the FE should cover the cost of a light-weight Series E 50mm f/1.8, or get you most of the way to the lovely Nikkor 50mm f/1.4.

Will the FG ever get the love it deserves? 

I imagine that the Nikon FG will never be fully embraced by Nikon fans, and much as I would like to dismiss those who turn their nose as snobs, the truth is that I cannot blame them. There is a level of polish and sophistication that one expects from a Nikon camera, and the FG doesn’t meet that standard. Shoot with a Nikon FE or FM and you can understand why they command such high prices. Shoot with an FG and you can understand why it doesn’t.

But that doesn’t change my opinion that the Nikon FG is a brilliant camera. I’ve been shooting with the FG for far longer than I’ve been writing for PopPhoto, and what my forbears at this publication said about the FG four decades ago still holds true today: It’s a flexible picture-making machine that is at once sophisticated and easy to use. Nikon fanatics may not hold the FG in high esteem, but I sure do.

Nikon FG sample images

Below you’ll find a selection of sample images from the Nikon FG. Note: All shots were hand-processed and scanned.

The post Classic film camera review: Nikon FG, the SLR that irked everyone (but me) appeared first on Popular Photography.

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In December of 2021, photography giant Kodak Professional announced a new disposable camera option. Instead of packing it with consumer-grade color film as it does with most of its other disposable offerings, Kodak Professional loaded up rolls of its iconic Tri-X 400 black-and-white film. This classic stock has been a staple in the film photography world for decades, in part because it is so flexible. It also has a nice punchy contrast for a black-and-white film, appealing to many. I was able to get my hands on one to shoot around with and put it through the paces.

The camera

The camera itself is a standard disposable–meaning single-use–option. It has a plastic, fixed focus lens that can focus as close as roughly four feet. While it technically focuses to infinity, subjects are sharpest up to about 10 feet. The Tri-X disposable also has a fixed f/10 aperture and a single 1/125th of a second shutter speed. All of the fixed settings are one of the reasons disposable cameras are so approachable and suitable for those who have perhaps never shot film before or don’t have photography experience in general.

The only setting you have control over is whether or not to use the flash. It powers on with the push of a button on the front, and when it’s ready, a red LED on the top of the camera will light up to let you know. It charges up quickly, so you aren’t stuck waiting on it to get ready. It is pretty powerful, making it possible to take photos indoors or in low-light situations, which wouldn’t be possible otherwise due to the 400 speed ISO and f/10 aperture. 

Typical of disposables, it is made of plastic and is very lightweight. It still seems pretty durable, however. I went on a trip with it and had it either shoved in my purse or the side pocket of my camera bag, and it held up just fine. The flash button did get pressed once without realizing it before taking an image, but I didn’t take any accidental exposures, so I call that a win. Though by no means hard, you definitely have to press the shutter with intent, which is nice.

The images

The images possible from this disposable really are quite nice. The photos turned out sharp for a disposable. They’re not meticulously sharp, but that’s not the point. Once you embrace the imperfections, you will have much more fun and enjoy the pictures more. 

True to classic Tri-X film, the contrast is nice and strong, though not heavy handed. I find this film to have the ideal amount of grain. It is noticeable but not obtrusive. It also didn’t increase at all when using the flash, which was nice to see. 

Because of the flash, the camera is usable in a wide variety of shooting scenarios. I took a few indoors on a cloudy day, and the flash filled things in nicely without being overpowering. It handled high contrast scenes well, but darker scenes like under the big trees of a botanical garden also look nice.

Final thoughts

I have to admit, I was quite excited when I heard that Kodak Professional was releasing something new for film users. Though I don’t shoot film as often as I once did, I love to hear of new developments (no pun intended) instead of the discontinuation of products and films. Plus, disposable cameras are a great film introduction for people who have never shot analog before, so having an option like this is exciting. You can produce attractive images on this thing without much skill or knowledge, so if you are looking to dip your toes in the film waters, this camera is a great way to do so.

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I’ve wanted a Rollei 35 ever since I caught wind of its existence. Delightfully compact, it’s one of the smallest film cameras on the market, alongside the Minox 35 EL and Olympus XA. I am a sucker for great design and aesthetic, which is why the Rollei 35 (and its little Zeiss lens) quickly won my heart. So, when I unexpectedly found a minty one on Facebook Marketplace, I knew I had to take the plunge. Any hesitation quickly faded with the lore that came with the camera: According to the seller, the previous owner (his wife’s father) was the president of RCA records. If true, can you imagine the photographs the camera must have made? 

As a journalist, I can’t resist a good story, so soon enough, I found myself the owner of this lilliputian camera that is, frankly, smaller than most women’s pocketbooks. And the only thing that didn’t seem to work was the light meter.

The specs

At just 3.75 inches across and 2.5 inches tall, the Rollei 35—which debuted at Photokina in 1966—is pretty much the definition of a pocket camera. How can I say this with authority? Unlike many women, I forgo the handbag as often as I can, preferring only what I can shove into my (scarce) pockets. And I have, many times, placed my Rollei 35 into my coat or jacket pocket and been on my merry way. 

Though a bit dense, it’s not heavy compared to all the gear you could lug around, and I love that the lens collapses into the camera for easy storage. Everything, from the aperture to the shutter speed and film advance, sits flat and compact, though always easily accessible. Front-facing dials control the aperture and shutter speed—nestled on those are smaller dials that set the ISO and denote the film type.

Related: Affordable analog: 10 alternatives to high-priced film cameras

If you thought it couldn’t get any more efficient, think again. The Rollei 35 even manages to squeeze a hot shoe onto the camera body—albeit on the bottom instead of the top. You’ll need to play around with your flash a little bit to get it just right. 

In some iterations, the camera comes with a Carl Zeiss 40mm f/3.5 Tessar lens, and in others, a Triotar (f/3.5) or Sonnar (f/2.8). Mine is the first, and I have no complaints. It performs beautifully, though by my hand, the results are occasionally blurry due to the zone focusing (more on that in a moment). 

Who the Rollei 35 is for

Honestly, I say if you want an easily portable, non-assuming camera for any situation, that is also a handsome little thing, the Rollei 35 is for you. However, I can see how street photographers might especially benefit. The shutter is so quiet, that most would be hard-put to hear it fire.

The other thing is the zone focusing. Since street photography is all about freezing a moment, you don’t want to waste time noodling around with your focus. Zone focusing allows you to set your focus distance and shoot, knowing that everything that falls within a certain distance range will be sharp. You just need to be a good guesser—I am mediocre, and so I’ve had my fair share of blurry photos. But that’s just part of the fun! It personally challenges me to let go of the need to control every aspect of my photographs. 

My one real complaint with this camera are the 40mm focal length and three-foot minimum focusing distance. I find 40mm to be a funky in-between—not quite wide enough like 35mm, but not tight enough like a 50mm. Using it is a compromise I happily make, though. I can’t shove any of my other cameras into my pocket, and when it comes to gear, I try to have the less-is-more approach.

Despite the quirks, this is the camera I’ve been reaching for more and more as my others (including a Rolleiflex) sit wallowing on the shelf. It really has helped me put the fun back in photography in the way it demands a carefree approach. That’s something I’ll take more of, thank you very much. 

The post I’m obsessed with the Rollei 35 and haven’t picked anything else up in months appeared first on Popular Photography.

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Fujifilm’s new digital Instax Mini Evo Hybrid is a unique instant camera that combines a digital sensor with traditional Instax technology. The interesting pairing of tech makes for an Instax camera that falls somewhere between printer and camera, allowing users to store images, make edits and selections before they print—you can even transfer images from your smartphone for printing. Announced back in November 2021, this intriguing hybrid camera just started shipping worldwide.

SEE IT

We’ve been shooting around with the Instax Mini Evo Hybrid for some time now, and though it offers a very different experience compared to a typical Instax, there is still a whole lot to love. 

What’s New 

This isn’t Instax’s first foray into hybrid cameras, the Instax LiPlay also has a digital sensor that lets shooters select images before printing them, but the Mini Evo Hybrid packs in a ton of other creative features. The Mini Evo Hybrid has 10 film effect options and 10 lens effect options to help you customize the way your Instax prints look. Film effect options include Normal, Vivid, Pale, Canvas, Monochrome, Sepia, Yellow, Red, Blue, and Retro. Lens effect options include Normal, Vignette, Soft Focus, Blur, Fisheye, Color Shift, Light Leak, Mirror, Double Exposure, and Half Frame—you can see an example of the Mirror effect above. And users can combine Film and Lens effects for maximum creativity.

Look and Feel 

This camera looks and feels really good in your hands. The Mini Evo Hybrid definitely takes some style inspiration from Fujifilm’s line of X-mount digital cameras. While it’s still made of plastic, it has a black “leatherette” body and shiny silver accents. 

The fixed 28mm F/2 lens includes a lens ring that lets you swap between the different integrated lens effects. On the front of the camera, you will also find the camera’s on and off switch and a shutter button. The Instax selfie mirror is above the lens, near the front-facing shutter button. The top of the camera includes a clever “film advance” that can be used to make a print. On top, you’ll also find an additional shutter button, a “Favorite” button (for saving settings), and a dial for swapping between the different film effects. Instax film packs load into the back of the camera underneath the 3-inch LCD screen that lets you preview images before you print or make edits. The buttons to the right of the LCD screen allow you to change flash settings, change to macro mode, adjust the white balance, shoot in self-timer mode, change exposure brightness and use a digital zoom effect. 

The Mini Evo Hybrid uses a long strap that attaches to the side of the camera where the film is printed. This makes traveling with it easier than some other Instax options, which only have a single connection point for a wrist strap. But we do wish that Fujifilm had included an additional attachment point so that the camera could be carried in a horizontal orientation, in addition to the vertical orientation—especially since ergonomically, this Instax makes you want to shoot in landscape mode rather than portrait mode.

The camera charging port can be found under a door beneath the lens, which is also where you can add a micro SD card to increase storage capacity. 

In Use 

Shooting with the Mini Evo Hybrid is a different experience than shooting with a standard Instax camera—and it’s not just because you have the option to review your images before you print them. The Mini Evo Hyrbid is still easy to use, you can absolutely keep it in normal film mode and normal lens mode while shooting, but with all the different settings we’d recommend you explore the various creative options. 

While the different film emulsions are a nice touch, it’s the ability to choose different lenses that I found most exciting with the Mini Evo Hybrid. As you move the lens ring on the front of the camera, the LCD screen will show you a preview of how the effect will change the image. The lens effects range from very subtle (Vignette and Soft Focus) to extreme (Fisheye and Mirror). During my time with the camera, I found myself gravitating towards Light Leak, Mirror, Half Frame, and Double Exposure modes. Double Exposure mode in particular was one of my favorites as it allows you to layer two images on top of one another on a piece of instant film—a feature that was previously only found on higher-end Instax cameras like the Instax Mini 90.

Having all of these creative options at my fingertips changed the way I used this Instax camera. Rather than shooting a frame and being done with it, I found myself wanting to experiment and take multiple exposures of a subject using the different settings without being worried about burning through my packs of Instax film. 

Users also have the option to send pictures from their phone directly to the camera through the Mini Evo app—essentially turning the camera into an Instax printer. Unfortunately, there is no way to adjust film emulsions or lens settings if you are sending something through your phone. Remote shooting is also available through the app. 

Image Quality

The image quality of Instax cameras has always been solid and the prints made by the Mini Evo Hybrid are no exception. Similar to the Instax Wide Link printer you have the option to print in Instax Rich mode or Instax Natural. Instax Rich boosts deep, warm colors, while Natural mode emphasizes the natural tones of the image. The ability to adjust exposures before shooting is helpful for preventing over or under-exposed frames, and the flash is powerful enough to handle shooting indoors or at night.   

Conclusion

Ultimately I really liked shooting with the Mini Evo Hybrid, but it did come with a bit of a learning curve compared to other Instax cameras. Using the Mini Evo Hybrid isn’t as intuitive as an Instax Mini 11, but I got the hang of shooting with it rather quickly. I love the creative lens modes and appreciate the visual aesthetics of the camera too. It looks good and it makes prints that look really good.

Having the ability to preview images before you print is my favorite part though. Instax Mini prints are 75 cents per picture—if you are buying in multipacks—and the ability to preview all these creative effects before you print will definitely prevent you from burning through film packs (and money) too quickly.

The Instax Mini Evo Hybrid is available now for $200. 

Additional samples

Additional samples from Fujifilm Instax Mini Evo Hybrid can be found below.

The post Fujifilm Instax Mini Evo Hybrid review: Our new favorite digital instant camera appeared first on Popular Photography.

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Disposable cameras are a great way to dabble in the world of film photography. They require very little investment, and the combination of a cheap lens and a prominent flash make for a unique and distinctive look that smartphone cameras can’t easily replicate. Now, Kodak has introduced a new disposable that comes loaded with its iconic Tri-x 400 black-and-white film. It’s a relatively affordable way for the analog-curious to try one of the most famous films of all time.

The legend of Kodak Tri-X

Even if you’ve never shot a roll of Kodak’s Tri-X 400 film, you have definitely seen images taken on it. It debuted as a large-format sheet film in 1940, but it soon after became available in 35mm and medium format. Tri-X became a staple for photojournalists and other working photographers because it provided tremendous flexibility and latitude. 

With the camera set to expose the film at ISO 400, the stock provides solid sharpness, punchy contrast, and a very noticeable-but-pleasing grain. In a pinch, however, photographers can underexpose Tri-X by up to three (or even four stops) and then use specific developing techniques to get a usable image at the equivalent of ISO 3200. It’s a technique called “pushing” that really intensifies the grain. 

That flexibility helped photographers win countless awards, often in gnarly situations. Nick Ut’s heat-breaking, Pulitzer-winning “Napalm Girl” photo from the Vietnam War was shot on Tri-X. Famous rock-and-roll documentarian Anton Corbijn was a serious Tri-X fan. It was truly the standard. 

The Tri-X disposable

The camera itself offers specs similar to what you’d expect from a typical disposable. It has an F/10 fixed-focus lens that will keep most everything sharp starting from a meter in front of the lens. It offers a single 1/125th second shutter speed option and a built-in flash that fires every time the shutter goes off. 

It’s dead simple by design, but still offers the familiar Tri-X look. You could easily push the film a stop in processing to really amp up the contrast and grain if you want to hammer home the film aesthetic. Each camera comes with 27 exposures and you can see some early examples of photos shot with it below.

When can we get the Kodak Tri-X instant camera?

Kodak hasn’t announced official pricing or availability for the Tri-X compact just yet. A single roll of Tri-X is already $10, though, and Kodak has announced that film prices are going up in 2022, so we’d expect it to be $20 or even more, which is on the high-end for its color disposables—most of which use cheaper consumer film.

If you can’t wait for Kodak to start shipping these, Ilford currently sells two black-and-white disposables. One comes loaded with its tried-and-true black-and-white HP5 film. The other opts for XP2, which is black-and-white film, but it develops using standard color chemicals (C-41 process). 

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Old film cameras can last a long time with very little maintenance. One of the few things that fail, however, are the foam light seals. Thankfully, they’re easy to replace. 

A few months ago I picked up a Canonet 28 from the early-1970s. Mechanically, it worked perfectly, but it had a really bad light leak. As cool as the effect was in some shots, it was incredibly unpredictable and so I decided to repair it. It’s the camera in all the demo photos in this article. 

A few warnings

Old, decaying light seal foam is pretty gnarly stuff. It crumbles and the pieces that break free stick to everything. When you’re removing it, be very careful not to let it fall into the inner workings of your camera. It will just make a mess of whatever roll of film you shoot next. (I was somewhat fortunate that the seals in my Canonet were so rotten that there was very little left to remove.)

Also, while replacing the light seals is a relatively easy job, you should always be careful when working on old cameras. Take your time, don’t rush anything, and you should be fine. 

What you need to repair light seals

To replace your light seals, you need some new ones. They’re made of an opaque foam or felt that you can either buy in strips or, for common camera models, in pre-cut kits. I picked up this bumper pack from Milly’s Cameras in the UK, while Ebay seems to be the place to buy pre-cut kits. Go with whatever option will work best for you.

You also need a way to stick the new light seals into the camera. We’d recommend buying light seals that come with self-adhesive tape pre-attached, but you can also use Pliobond—it might just be a bit messier. 

To remove the old light seals you need a few bits:

• A soft scraper. I used a wooden kebab skewer because I couldn’t find my iFixit repair kit.
• Cotton buds.
• Cloth or paper towels. 
• A solvent, such as isopropyl alcohol. (I used methylated spirits as they’re easier to buy in Ireland.)

If you’re using a pre-cut kit, that should do. However, if you’re cutting your own you’ll also need:

• An X-acto knife or similar.
• A pair of scissors. 
• A chopping surface.
• A metal ruler. 
• A pencil. 

Step 1: Remove the old seals

Remove the old light seals and any remaining adhesive residue. Start by scraping as much away as you can with your soft scraping tool, carefully tipping it out onto your work surface as you go. 

Once you’ve removed as much of the old seal as possible, use a cotton bud to carefully apply your solvent. 

Use a combination of your cloth, scraping tool, and cotton buds to get rid of all the residue that remains. 

It can take a little while, but you will eventually end up with a clean surface. 

Also, make sure not to miss any of the seals in the camera. They’re often on both the film door and surrounding the film chamber. 

Step 2: Insert the new seals

Unless you’re using a pre-cut kit, measure and cut the replacement strips. Make sure to use the foam or felt that most closely matches the original seals. 

Dry fit your light seals to make sure they’re the right size. It’s easier to leave them a little long and then trim off the edges at the end. 

If you’re using an adhesive, apply it now. Otherwise, carefully peel the backing paper from the foam and press them into the right spot on your camera. (Your soft scraper will be really useful for any awkward corners.)

Again, don’t miss any of the original light seal spots. 

Step 3: Wait

As tempting as it is to load a roll of film right away, don’t. Leave the adhesive set for at least a few hours. 

Then, close the film door and make sure everything fits okay. If you’ve miss-cut a light seal, you may need to trim it back or redo it. 

Finally, load a cheap roll of film to test your work. If all has gone well, the light seal problem should be gone.

The post How to change the light seals in an old film camera appeared first on Popular Photography.

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On October 10th, a flight from Indianapolis to New York’s LaGuardia Airport made an emergency landing at its destination after a passenger mistook a vintage camera for a bomb. 

Mistaken for a bomb detonator

According to the NY Daily News, an unidentified woman traveling with her husband and children saw the (as yet) unidentified photographer looking at photos and videos of vintage cameras on his phone. 

“She thought he was looking up bomb-making instructions, and when the man pulled out his own camera and adjusted it she was convinced he was setting a timer on a detonator.”

She alerted the cabin crew triggering the emergency landing procedure. Once the plane was on the ground, the unsuspecting vintage camera fan was tackled by emergency responders and taken into custody. He was detained for several hours while his bags were searched—shockingly, they contained more vintage cameras—before being released without charge as “no criminality” had occurred. 

Unpacking what happened

There are several layers of ridiculousness to this whole mess. Leaving aside the sheer bad manners of staring at someone else’s phone screen during a flight, it also seems pretty unlikely that a terrorist would look up instructions for their bomb mid-flight. Also, how old or large was this camera that it could be mistaken for a detonator?

The SLR and rangefinder formats have been pretty consistent since the 1930s—and they’re kind of distinctive. Any report that portrays this as an emergency landing caused by the photographer’s “erratic behavior”—looking at you New York Times—is straight-up wrong. This incident was caused by someone’s overblown paranoia, not a vintage camera. Thankfully, no one was hurt in the evacuation. And the photographer appears not to have suffered too badly at the hands of the first responders.

Other instances of mistaken identity

This story is hardly the first time that photographers have been misidentified as terrorists. A few years back, an astrophotographer in Ireland was mistaken for a sniper triggering an armed manhunt by the Gardaí (the local police force). Similarly, another photographer’s tripod was mistaken for a machine gun in Pennsylvania. One photographer was even shot after officers mistook his camera for a gun.

Our own experiences

And these are just the big, newsworthy incidents. When we discussed this story in the Popular Photography writer’s group chat, most of us had stories about getting extra security scrutiny when traveling with cameras. My camera bag regularly gets pulled from the X-ray belt to be hand-searched. Dan Bracaglia, our News and Features editor, said that his film cameras are normally given a second look. 

“More often than not, the agent strikes up a conversation about photography. I once even had a gentleman say, ‘Ooh nice, a Leica,’ before proceeding to swab it for explosive residue.”

Is flying with vintage gear worth the risk?

Really, it sucks that carrying a camera or a tripod gets you extra scrutiny. It’s terrible that armed police can get called on you for carrying a tripod on a beach. It’s utterly dystopian that someone’s paranoia about your vintage camera can trigger an emergency landing that ends with you pinned on the tarmac. 

But you shouldn’t let all this stop you from taking photographs. It’s easy to get concerned after incidents like this get national media attention. But situations, where armed police respond to photographers, are incredibly rare. That’s why we’re reporting on it now. In most cases, a security guard just has a word with you or it takes a few extra minutes to get through the airport.

If you love photography—like all of us here at Popular Photography—then the tradeoffs are worth it. The risk of something like this happening to you is tiny. But the chance of you having fun and getting some good photos? It’s 100% guaranteed.

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Sometimes it’s nice to take a break from the incessant tweaking and sharing of digital photography. Analog cameras are a charming way to make memories that will exist on a physical plane. Find some affordable, easy-to-navigate analog cameras below.

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This instant analog camera produces credit card-sized photos that you can stick in your wallet or use to make a fun collage on your refrigerator. It auto-adjusts the flash and shutter speed, so you don’t have to do anything but point and shoot. You can even do double exposures to get fancy. This camera is easy to use and durable, which makes it great for young folks and parties.

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Add more spontaneity and surprise into your life with a camera that won’t let you immediate look at the photo you just took. Fuji disposable cameras help you capture the energy and the movement of a single moment. Experience the pleasure of the party, vacation, or sunset all over again when it comes time to develop your images.

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This toy camera’s plastic body means the images are prone to light leaks, so no photo will come out just as you expect. It produces saturated photos and gives a choice between f/8 (cloudy conditions) or f/11 (for sunny conditions) and a zone focus system to get shots as close as three inches away. This camera also comes with black and white film.

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This chic Polaroid camera has the charm of the cameras your parents loved—plus a 10-megapixel sensor and microSD card. The modern fixings empower this camera to take high quality images that you can save and print in one minute. Prints come out on peel-to-stick 2×3-inch photo paper. There’s also a selfie timer.

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Lomography is known for its toy cameras, and this instant camera is one of the most advanced on the market. It auto-adjusts shutter speed, aperture, and flash and comes with bonus lenses for close-ups, fisheye shots, and wide angles.

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